Recommended music: 'Lost Themes III: Alive After Death' by John Carpenter

 

Arriving 5 years after volume 2, the third in John Carpenter’s ‘Lost Themes’ series finds him treading familiar territory. Subtitled ‘Alive After Death’, these may be original tracks rather than music composed for his films but it’s easy to imagine them soundtracking one of his signature style of movies. One look at the titles – ‘Dripping Blood’, ‘The Dead Walk’, ‘Cemetery’, Weeping Ghost’ – is enough to bring to mind plenty of gruesome images to fit nicely with the vibe he’s created here.

As with all of his recent work, the album is a collaboration with his son Cody Carpenter and his godson Daniel Davies. It’s clear that they have developed as a trio, in part by playing together on the road (I saw them live at The Troxy in East London on Halloween a few years ago), and John says that they can now “… communicate without words, and the process is easier now than it was in the beginning.” It’s nice to hear Davies let rip on the guitar every now and then as it brings a new dimension to the synth-led tunes. ‘Vampire’s Touch’ is probably my favourite track on here, for the way it starts off as a brooding synth piece and then turns into a pounding guitar driven monster.

I sometimes feel that Carpenter doesn’t receive his fair dues for his music and the influence he’s had on other composers and artists, from Cliff Martinez and Clint Mansell through to Hans Zimmer. If you’re new to his work and find yourself listening to this album and thinking ‘this sounds like X or Y’, then probably the reality is that X or Y actually sound like JC. And whilst his film-making career may be on hiatus, he can continue to make albums like this to inspire a new generation of synthwave artists.

 ‘Lost Themes III: Alive After Death’ by John Carpenter will be released on 5^th February 2021 on the Sacred Bones label.

Track of the Day: 'Rubble Kings (Dynamite On The Street)' by Run The Jewels

The latest instalment in the Adult Swim Singles series for 2015 is also the the first track to be released from the soundtrack to the  Rubble Kings documentary. The film tells the story of how hip-hop culture arose from the gang era in New York City, and features. As well as RTJ the soundtrack, which is out on October 30th on Mass Appeal Records, will also feature the likes of Bun B and Mr Muthafuckin Exquire.

Musically the vibe is similar to 'Crown' off last year's RTJ2 album, with a driving rhythm and a stuttering vocal sample. You can listen to it below and download it for free here.

Recommended music: 'The Race For Space' by Public Service Broadcasting

The sophomore album from Public Service Broadcasting sees them tell the tale of the space race between Russia and America between 1957 and 1972. Following their usual model of using historical soundclips, they play the two sides off against each as they reach epic and sometimes tragic milestones, from the launch of Sputnik, to the death of the 3 Apollo 1 astronauts, to the first spacewalk and ultimately the moon landing. According to the sleevenotes they used different mixing techniques and even a different drum kit to record each nation's tracks, and in doing so they've successfully managed to give a different feel to the CCCP and the USA.

The record does feel like a development for the band and a step forward for them. With an act like this who are so dependent on the recorded clips there was a risk that the songs could become very formulaic and repetitive, but here they've developed new sounds and new ways of working. The first two tracks are probably the most diverse, moving from the heavenly choir on the title track to the funked-up "superhero theme tune" of 'Gagarin'. Later on they enlist the help of Smoke Fairies on 'Valentina' to bring a female perspective to the story of the first woman in space, Valentina Tereshkova. Meanwhile 'Go' is a fantastically energetic and joyous retelling of the Apollo 11 lunar landing.

For me the most impressive thing about this album is how they've managed to convey both the emotion and majesty of the space programmes, and also managed to inject a tinge of sadness that it all came to such an abrupt and disappointing ending. To send a manned to the moon with less computing power than there is in a modern-day iPod is a phenomenal achievement, and you have to wonder where we could be now if the two nations had pooled their resources and worked together to develop an ongoing and sustainable space programme.

If you haven't seen the brilliantly fun video for 'Gagarin' then you should go here to watch it. And you can get a free remix of that track from this page on my blog.

Recommended music: 'Lost Themes' by John Carpenter

You have to wonder why it took John Carpenter so long to get round to doing this. With his soundtracks revered as much as the films he made them for, and recent re-releases from Death Waltz Records (I got the orange vinyl Escape From New York and the marbled edition of The Fog) his impact and influence has possibly never been greater.

The record he's put out, in collaboration with his son Cody and godson Daniel Davies, displays all the hallmarks of a classic Carpenter soundtrack, but with the benefit of today's modern equipment and recording standards. To be honest, I think a lot of people would've been happy if he'd just gone into the studio and re-recorded some of his 'greatest hits' so we could hear them in a better quality, nut I think it's great to have some new output from him, even if there's no film to go with it.

I've read that these tracks grew out of jam sessions between John and Cody, but you wouldn't know that to listen to them. Some, like opener 'Vortex', are crisp, focused and recognisably Carpenter while the sprawling tracks like 'Obsidian' and 'Domain' go to a number of different places and are almost like  mini soundtracks in themselves.

The album as a whole is brilliantly put together so that it doesn't feel like a collection of pieces but instead actually works like a soundtrack to a film he never got round to releasing - the tension ebbs and flows, the moods change subtly and the whole thing comes together in a way that encourages you to picture the scenes in your head. You might argue that at 67 he's got no business making a record at all, but which would you rather have - some 20 year-old in his bedroom making second rate pastiches of his work, or something new from the master himself?

It's worth noting that when I downloaded the mp3 files that came with my vinyl copy there were six bonus remixes from the likes of Zola Jesus and Blanck Mass on top of the nine tracks - I hadn't seen this mentioned anywhere so it was a nice surprise!

Highly recommended. 

Tracklisting:

1. Vortex
2. Obsidian
3. Fallen
4. Domain
5. Mystery
6. Abyss
7. Wraith
8. Purgatory
9. Night
10. Night (Zola Jesus and Dean Hurley Remix)
11. Wraith (ohGr Remix)
12. Vortex (Silent Servant Remix)
13. Fallen (Blanck Mass Remix)
14. Abyss (JG Thirlwell Remix)
15. Fallen (Bill Kouligas Remix)

PS I'd love to remix some of these tracks myself, so if any of you know Mr Carpenter can you get him to throw the stems my way?

Recommended music: 'The Light Brigade' by Daedelus

"Half a league, half a league,

Half a league onward,

All in the valley of Death

Rode the six hundred"
Alfred, Lord Tennyson, The Charge of the Light Brigade

An album about the 1853-56 Crimean War might not be top of everyone's to-do list, but when you've already made an EP about the Boxer Rebellion of 1900 (2009's 'Righteous Fists of Harmony') then I guess anything's possible. And so following in the footsteps of Alfred, Lord Tennyson comes Alfred (should we call him Lord?) Darlington a.k.a. Daedelus to create an artistic work based on this very specific battle.

As you might expect from the subject matter this is not a bright, sunny creation but neither is it all doom and gloom. There are enough moments of light and shade to reflect the fact that even in extreme battles moments of calm can descend. It's also interesting that he's chosen to incorporate other elements into the story, with 'Baba Yaga', a supernatural woman or witch from Slavic folklore, getting a mention amongst the paraphernalia of war.

The mostly instrumental tracks are shot through in three places by some ethereal vocals from Young Dad, most noticeably on 'Onward', a devastatingly beautiful and haunting track that pretty much brings tears to my eyes each time I hear it. It's not all electronics either; gently-picked acoustic guitar forms the backbone for 'The Victory of the Echo Over the Voice' and 'Sevastopol', but it's soon overcome by the dark, swampy intro of 'Tsars and Hussars', another of the tracks to feature Young Dad.

In a lot of ways this reminds me of Apparat's soundtrack for War and Peace (Krieg und Frieden), both in the way it's constructed and the mood it puts across. The fact that further conflict has arisen in the area since the record was made adds an undeniable poignancy and currency to it, making it stand as much as a reflection on modern-day warfare as a comment on a specific piece of history.

I absolutely love this record and I'm sure you will too when you immerse yourself in it. It would work really well as a soundtrack to maybe an animated movie about the war, but it also stands on its own as an outstanding piece of music and art.

Theirs not to make reply,

Theirs not to reason why,

Theirs but to do and die

New music: 'Come Correct' by Tastelike Cake

A haunting and beautiful track that spreads out gently over six and a half minutes. At first it soothes and calms you, then it jolts and provokes you, before returning and relaxing you. These three phases apparently represent our memories, our personality and our body.



If the track sounds familiar than that might be because it includes a sample from the 'Solaris' soundtrack by Cliff Martinez. The whole track itself has the feel of a film soundtrack - it reminded me a bit of Clint Mansell's work as well as Martinez. Have a listen, get yourself a free download, and see what you think.

For more music by William Georges a.k.a. Tastelike Cake check out his Soundcloud page here.

Recommended music: 'At or From a Distance' by Steiner

The third release in Glass Reservoir's series of commissioned recordings is a contemplative affair. Mixing field recordings with waves of musical sound, the overall effect is one of transience, of moving from one state to another, and of a general sense of not belonging. It's hard to tell whether the music has been created on keyboards or naturally - there's a recurrent sound that could as easily be the sound of a ringing bowl as its electronic counterpart.

When you put the rather mystical song titles together with the sound ('I seem to glimpse you in every window', 'The opposite of now', 'I seem to glimpse you in every window', 'Topography/Hiro') you end up with something that becomes the aural equivalent of a Haruki Murakami novel - you're not entirely sure where the journey is taking you, and ultimately it raises more questions than it answers, but it's an engrossing experience that you'll want to repeat.

'At or from a distance' is released on 17th February on download and a limited run of handmade CDs - click here for details.

Track of the Day: 'La La La' by Unloved

Any new project that has the backing of David Holmes is guaranteed to be worth a listen. Despite having a pretty awful and unrepresentative name, this track proves to be a beguiling mix of Twin Peaks-esque soundtrack, ethereal 60s French chanteuse and slightly chilling Scandinavian noir-thriller vibes. Perfect for your chilled-out Sunday, it sounds like the album will definitely be one to check out when it arrives. Listen & download the track below.

New music: 'Empire Mines' by Plankton Wat

A haunting instrumental from the forthcoming Plankton Wat album 'Drifter's Temple' (out September 17th on Thrill Jockey records). It's got a bit of a western-soundtrack feel, with added hints of Pink Floyd and even 'Hotel California'. Just over a minute before the end it goes all epic with some great electric guitars thrown in over the top of the acoustic picking.

Listen & download for free below.

Recommended music: 'Elemental Themes (DJ Cull's Music Non Stop Mix) by Chrome Canyon

Regular readers will know how much I live 'Elemental Themes', and the remix album that came out this year gave some new perspectives on some of the tracks. It also gave me the inspiration for this - a non-stop mix of my favourite bits from both versions of the record, with some bits of film dialogue thrown in for good measure. Have a listen below (the download option is disabled for now, unless Morgan or Stones Throw give me the nod to set it free on the world). I had great fun making this - I hope you have as much fun listening to it.

New music: 'Blue Elvis' by Peals

Imbued with the spirits of Dirty Beaches and David Lynch, this is a gorgeous instrumental that evokes sunsets and beaches and that end of summer feel. The track will be included on the new Peals album called 'Walking Field', which will be out in May on Thrill Jockey Records - you can pre-order it by clicking here.

In the meantime you can listen to this track and grab it for free below.

Recommended music: 'Krieg und Frieden (Music For Theatre)' by Apparat

Not your normal, run of the mill album from Apparat, this is something very special indeed from Sascha Ring. The music on this record was originally written for innovative German theatre director Sebastian Hartmann's new production of Tolstoy's 'War and Peace'. Although a release wasn't planned for the music, by the end of the theatre run it had evolved into something that Ring felt deserved another life, so he took it into the studio with four other musicians and they made it into this. Amazingly intense and powerful at times, but shot through with moments of fragility, it plays out like a film soundtrack, and conjures up fantastically bleak images in your mind. Mostly instrumental, there are just two tracks with vocals, including the plaintive but uplifting closer 'A Violent Sky'.

There's more than a hint of Tim Hecker in some of the tracks, not just in the sound and the drones but in the power of the music. It points at a whole new direction for Apparat and one which I for one hope he takes. I love the fact that you can hear the ambience of the studio, the little imperfections and creaks in the background, there's a real analogue warmth to it that draws you in to the story. It works as a whole piece - Ring has stated that although there are individual tracks it's not a record that's designed to be listened to in small pieces, but rather in one long song. I guarantee that if you put 45 minutes aside to listen to it you'll emerge from it a better person.

You can listen to the whole album below - if you like it then please buy it, as I really believe that the word needs to be spread about this amazing record. The more of you that buy it, the more charts it will appear in, and the more people will hear about it.

Track of the Day: 'Generations (Chateau Marmont Remix)' by Chrome Canyon

Regular readers of my blog will know that I'm a huge fan of last year's 'Elemental Themes' album by Chrome Canyon (click here for my review). Word is that there will be an 'Elemental Remixes  album later this year, featuring the like of Peaking Lights and Gavin Russom twiddling with the original tracks. In advance of the album you can get a free download of this 'Generations' Remix, which fleshes out the track a bit and generally brightens and refreshes it.

New music: 'The Summer Ghosts of Radio Deux' by David Holmes

Compiled by the legendary producer, DJ and soundtrack compiler, this mixtape is apparently inspired by an underground pirate radio show that he heard from Paris in 1972. It's clearly been a labour of love for him, so give it an hour of your time and sink into its luxuriousness. It's an audio feature film for widescreen imaginations.

You can download it for free too, it would make an excellent companion to a cross-country journey.

Recommended music: 'Elemental Themes' by Chrome Canyon

Not what you might be expecting from the Stones Throw label, and I must admit that having heard a couple of snatches of this before I got the album I thought I was going to hate it. But after the first play of the whole album end to end I loved it so much that I wanted to put it straight back on again.It's one of those rarities these days where listening to the album in one go really pays dividends - the more you sink into the mood and atmosphere of the record the better it gets.

So what does it sound like? Imagine the soundtrack to the best film Ridley Scott or John Carpenter never made. Imagine a record that sounds like electronic musical equipment had stopped being developed after about 1985. Imagine influences from Giorgio Moroder, Vangelis and Pink Floyd. Yes, that's a lot of imagining to do, but that's what this record encourages. As the tracks unfold you'll be picturing the scenes from a non-existent film, seeing the action played out in front of you as the music plays on. It's like Morgan Z (for he is Chrome Canyon) really did go back to the future to create a vision of the future that's welded to the past.

The title track even throws in some dialogue, as does 'Carfire on the Highway'. And as that staple of early 80s soundtracks, the saxophone, slowly drawls its way through an appearance on the fifth track, before making way for an evolution into something from A Clockwork Orange, you really will feel like you're in a cinematic time warp.

This is much more than a pastiche, or a homage to the past. There are some great melodies in here, some brilliant atmospherics, and hopefully the fact that Morgan's chosen specialist subject on Mastermind would appear to be 'classic electronic soundtracks' won't stop this record getting the exposure it deserves.

Right, I'm off to write a film called 'Elemental' so I can use this as the soundtrack, but in the meantime I'll leave you with this quote from 'Carfire On A Highway' which stands as a pretty good epitaph for the album:- "...a scorched reminder of what we saw ourselves as, and how far from it we still were...".

You can grab a free track from the album below.